摘要
近来,中西绘画比较诸多提及,但往往从不同的视觉思维入手,或用西方视觉模式套用中国绘画,造成误读。本文从中西绘画比较着手,通过中国古代绘画写实和写意形态的演化分析,说明中国传统绘画中的写实和写意非西方绘画的具象和抽象,而是中国传统思维活动的参与而演化,变异形象,或者重组、分解后再组合而成的意象。
While much has been done on the comparison between Chinese and Western paintings in recent years, most of the comparison has been made in terms of the differenee in visual thinking between the two painting styles, or in most eases the Western visual mode has been used indiscriminately in interpreting Chinese painting, thereby resulting in misreading. This paper starts with a comparison between Chinese and Western painting and, by probing into the evolution of the realistic and freehand brushwork in ancient Chinese painting, argues that the two terms＂ realistie ＂ and＂ freehand＂ in traditional Chinese painting do not equal the ＂concrete＂ and＂ abstract＂ in Western painting; rather, they involve the mutation, composition, decomposition and recomposition of images, with traditional Chinese thinking participating therein all along.
出处
《浙江师范大学学报（社会科学版）》
2006年第4期116-121,共6页
Journal of Zhejiang Normal University(Social Sciences)
关键词
意象
写实
写意
笔
形
墨线
Image
Realistic Painting
Freehand Brushwork
Strokes
Forms
Inking
